Discussion & Reflection

Gangs of New York: A Mournful, Foggy Night

Amsterdam (DiCaprio) is a character who lost his father early in the film. Skip forward 16 years, this same character is faced with several opportunities to seek revenge. He narrows in on one that empowers him to gain the trust of Bill (Day-Lewis), his father’s murderer. After given explicitly instructions to rob a ship, the scene that follows opens with a boat trailing through fog, carrying Amsterdam, his friend Jimmy, and several other members of the gang that works under Bill. This small clip solemnly fades into a shot of the dock, panning over several caskets and following a sobbing woman being consoled by a reverend. Amsterdam voices over the morbid clip, informing us that these are the bodies of soldiers while reminding us he has another job to complete. As Amsterdam and his friends board the larger ship, he comes across pools of blood which stuns him as he accidentally touched one.

So far, we are presented with a sad night of death, religious figures, and blood – three symbols that have already made a prominent presence in the movie thus far. As the scene continues with a man shooting a rifle, dying from a stab wound, and scaring the gang members back into the tiny boat, we are left with a recurring picture; one of a man on the brink of death attempting to send a final message. All of these factors are well-incorporated into the tale, however, we come across an external conflict that the gang is facing. Amsterdam and his comrades discover there is nothing on the ship to take.

While the rest of his crew wait in the smaller boat, Amsterdam decides he needs something to bring back to Bill to earn his trust. A close-up is shown of Amsterdam, thinking about what his next move should be. He places the knife of his dead father in his mouth and hoists the body up on his shoulders. At the last second, he throws the corpse into the boat and sells it to medical science. Upbeat folk music is heard as he receives payment by the scientists. He shows the coins to Bill, who complements the group for their efforts.  They are shown in the newspaper the next day and coined the “Ghoul Gang,” throwing Bill off-guard since he didn’t know what the word “ghoul” was. With the slow trust Amsterdam begins to build, he becomes one step closer to achieving the revenge he is seeking.

Y Boodhan: Blog 3 – Bill and Amsterdam Talk It Out

Prompt: Analyze one scene in detail. How do the various elements either advance the narrative or reveal character — or both? Consider: color patterns, music, dialogue, lighting, composition, the point of view, camera technique…

Scene: 1:25:30 – 1:33:40, Amsterdam and Bill chat in private

The scene begins with Amsterdam awakening after having sex with Jenny and realizing that Bill has been sitting and staring at them while they slept.

The colors of this scene greatly contrast those of the previous scene. The brown, copper-like color and mist that was in the air in the previous scene are absent. Instead, there is exceptional clarity in what seems like a naturally sun-lit room. Immediately the red sheets, Amsterdam’s blue shirt and the red and blue of the American flag wrapping around Bill stands out — showing the patriotism of both characters in a land that they both claim. The clarity of this scene suggests that the audience should expect clarity in the characters.

The room is silent. There is no music or voice-over in the entire scene. The scene starts with a long shot of the bed and Bill in the rocking chair with a mirror behind him. In addition, the source of light casts a shadow on each character’s face. After Bill initiates the conversion, there are close-up “American shots” which alternate throughout the conversation abruptly. The audience is forced to listen to every significant word in the almost unbearable silence.

There is no use of the two-shot technique. Instead, to show the weight of the conversation, the shots are angled in front of the character who is speaking but not directly in front of their point of view — they do not look directly into the camera. Instead, it’s like looking through the eyes of a third person sitting between Bill and Amsterdam.

The cutting of the fixed shots in the scene juxtaposes the two characters in a conversation that paints them to be similar. In fact, the dialogue was essential in advancing this scene, the plot and the characters. Bill opens up to Amsterdam and discloses his age, and past with Amsterdam’s father. Bill shows that he trusts Amsterdam enough to describe his vulnerability after being beaten up by Amsterdam’s father. This is all done in confidence as Bill is not aware that the priest he has killed is Amsterdam’s father.

The angle of the shots forces the knowing audience to ask, “Does Bill know Amsterdam’s end-game?” “What will happen when Bill finds out after this?” Looking in as a third person, the audience is helplessly detached, and although they itch to reveal Amsterdam’s secret to Bill, they cannot. They anticipate the unpreventable actions that follow.

The dialogue builds upon the narrative by predicting the events to come. Bill explains that his fear is what kept him alive so long. Bill tells Amsterdam about being shamed by the priest and about rising back up and killing him. He even tells Amsterdam that to keep others in fear of him, he would kill a man and put his head on a stick for all to see. For anyone who has finished the film, the similarity in the events between Bill and the priest can be seen in those between Bill and Amsterdam.

Later in the film, Amsterdam is spared by Bill and left to live in shame. Like Bill, when he shamed by the priest, Amsterdam rises back up. To entice fear, he places a dead rabbit on the fence on the intersection of the Five Points. Eventually, he killed Bill. This scene was significant in influencing Amsterdam’s later actions that allowed him to triumph over Bill.

After they converse, Bill gets up. He towers over Amsterdam who is still sitting on the bed and the lower angle of the camera emphasizes Bill’s control over Amsterdam. Bill had casually mentioned that he never had a son while they were talking and as he left, he kissed his hand and placed it on Amsterdam’s head while Amsterdam looks down. When he leaves, Amsterdam cries. It’s questionable whether he weeps for his father, or for Bill, knowing that he plans to kill him.

There is a conflict in Amsterdam’s character that wasn’t there before. He has gotten closer to Bill and Bill has confided in him that he admired the priest. Bill mentions that he and the priest were alike in principles but only faith divided them. Now, Bill and Amsterdam are divided by circumstance.

Bill is no longer the tough, unscrupulous character that the audience thought he was. The audience’s view of him has changed. He too has suffered. Now, Amsterdam’s character is in question. What should he do? Does his newly formed relationship with Bill change his feelings about getting revenge? At the end of it all, Jenny asks Amsterdam, “Who are you?” and Amsterdam is silent. The shot focuses on Jenny and cuts out of the scene.

Burning House Scene Analysis

Martin Scorsese’s Gangs of New York tells the story of a young Irish immigrant in the 1860s named Amsterdam Vallon who returns to the Five Points seeking revenge against the man who killed his father, William Cutting, who is also known as Bill the Butcher. In order to get his revenge, Amsterdam infiltrates the Butcher’s inner circle. Throughout the movie, the audience further learns the true struggle for the Irish people during this time.

Scorsese uses various film techniques and elements in order to advance the narrative and demonstrate characterization. During the scene where the house is on fire in the Five Points and multiple different fire fighter gangs come to put it out, the story is further deepened through various actions of the characters. In this scene, the viewer watches as the citizens of the Five Points get enjoyment out of the disaster. Various dialogue occurs between the people including the fire fighters as they nonchalantly watch the house burn down. The music is of an upbeat folk song that never stops throughout the whole scene and some people even risk their lives to loot the house of its valuables while they can. The camera pans in from an aerial view as the audience sees the top of the violence that is occurring below them. The elements of background music and camera technique help characterize the nature of the Five Points.

Throughout this scene, we learn more about the different characters. When Amsterdam’s friend Johnny sees the burning house, he takes the opportunity to go loot it because his friend was getting hungry. This exposes the caring side of the Irish people and questions the typical stereotype placed on the Irish during this time. We see Johnny running into the burning house from the point of view of Amsterdam and are transported from the dark street to the bright house engulfed in fire. Immediately, the two look for any valuables they could find. In the house, Amsterdam finds some expensive watches while Johnny finds a beautiful music box. When a beam falls and traps him in the fire, Johnny calls for Amsterdam’s help. Instead of leaving his friend behind to die in the fire, he jumps over the beam and saves Johnny. This adds to Amsterdam’s character as it shows his courage and love for his friend over money. At this point in the scene, the music is at it’s highest point with a harmonica solo blaring. When Bill the Butcher comes in riding a train, he automatically assumes the leading role of all the fire fighters and commands them to stop trying to put the fire out. He sits on a single luxurious chair amidst all the chaos around him which tells the viewers that he is the boss around those parts and no one can best him. When Amsterdam comes out of the burning house, Bill eyes him skeptically foreshadowing later events in the movie. This all furthers the characterization of Bill.

Overall, this scene helps characterize the characters and furthers the narrative early on in the movie so the audience can understand the growth of the characters and of the Five Point area.

Scene Analysis- Amsterdam Hangs the Dead Rabbit

The scene that I would like to analyze starts 1:53:00 in the movie and lasts only about a minute overall. Amsterdam is making his first trip into public after healing from Bill’s humiliation. An interesting aspect of this scene is the way the camera moves to show what Amsterdam is seeing, or coming from Amsterdam’s point of view. The camera is at eye-level and moves with the not- quite- smooth movements of him walking through the square. This adds to Amsterdam’s character. It shows his strength as he refuses to be ashamed or hide himself from the public. During his entire walk, the camera never lowers (as if Amsterdam was hanging his head) and his stride is not too slow or fast and never hesitant. When the camera does finally break from this point of view, it focuses on Amsterdam’s back, which is tall and broad rather than slouching. After focusing on his back, the camera then stays on his determined face when he turns around and next on the crowd as they stare at him. This increases the suspense of the scene. The camera doesn’t show what Amsterdam was doing until the very end, and the view of grotesque pelt of the dead rabbit hanging with Amsterdam walking away is the perfect conclusion to the scene.

The only sound that can be heard throughout the scene (except for the indiscernible grunts and mumblings from the crowd) is that of an unseen drum and whistle. The rhythmic, pulsing drum beat and an unsettling tune both increase in volume throughout the scene. The beat seems reminiscent of a battle drum and the escalation invites more anticipation and suspense.

Additionally, while no dialogue is discernable in this scene, there are a lot of things being said silently. Everyone Amsterdam passes in the crowd stops quietly to look at him and judge him. This silence of the onlookers is as damming as if they all were yelling profanities at him. Nevertheless, Amsterdam strides confidently through the crowd, telling all of the city, and Bill, that he refuses to be ashamed or run away. Then, before he shows the public what he’d done he stares down the crowd, as if daring them to confront him. The dead rabbit that he hangs in the middle of the square is a loud declaration of war.

This scene, which occurs two thirds of the way into the movie both advances the narrative, showing that all is not peaceful and defeated in the Five Points, and reveals Amsterdam’s strong and determined character.

Painter Summary

Although many Americans today may find it difficult to understand earlier American hatred towards white Irish Catholics than the racial hatred expressed towards African slaves, religious hatred such as that of Protestants towards Catholics supposedly existed earlier, lasted longer, and killed more people than racial hatred and bigotry. Indeed, there were other white people, most notably Irish Catholics, who were considered inferior by the majority of Americans and thereby mistreated and stigmatized.

Anti-Catholicism has been a part of American history since before it was even a sovereign nation; anti-Catholic laws existed even in the pre-Revolutionary era, when America consisted of just a few British colonies. Religious contempt toward the Irish surged in the mid-nineteenth century, when the devastating potato famine caused greater numbers of Irish to immigrate to the United States than ever. Consequently, several anti-Catholic publications and groups established themselves in the northeast. Countless Catholic churches were burned throughout New England and the Midwest. Protestants perpetuated the view of the Catholic church as sexually immoral through popular books like Awful Disclosures of Maria Monk. In addition, Protestant Americans feared that the great numbers of Catholics pouring into the country would destroy democracy and cause a nationwide conversion to “Popery,” (Painter 136).

Despite the broader scale of religious hatred and violence in the United States, American society remained rooted in ideas of racial difference and color hierarchy. Race was applied to Irish immigrants with nearly the same frequency and prejudice as their religion. Due to their racial status as Celts, many native-born Americans viewed the Irish as a separate race inferior to the Anglo-Saxon English. They were even referred to as “white chimpanzees” (Painter 135). Masses of American writers and cartoonists emphasized this racial aspect of the Irish by depicting them as apelike, ugly, violent, ignorant, drunken, lazy, and filthy sub-human people, which ultimately enforced and reinforced the Paddy stereotype of the Irish. Paddy jokes became a constant source of amusement for the “better classes” in American society.

During this era in history, many people, both patronizing Irish sympathizers and vehement nativist haters of the Irish, equated and compared the Irish to African slaves. Undoubtedly, both Irish immigrants and enslaved Africans were considered racially other and inferior in relation to Americans of Anglo-Saxon descent. The destitution, starvation, and poverty that the Irish experienced in the midst of the potato blight reminded many American intellectuals who visited Ireland at this time of the unspeakable suffering of African slaves in the U.S. “American visual culture” (Painter 142) in the form of cartoons and the like also equated the Irish Paddy with the “Negro.” Despite the similarities between these two groups, Irish immigrants themselves violently rejected these comparisons and tried to use the color lines present in American society to elevate themselves over black people by supporting the pro-slavery Democratic Party.

The combined status of the Irish as Catholic Celts, hated both for their religious differences as well as for their racial otherness, spurred mob violence at the hands of groups like the Know-Nothings, who soon acquired great political power for their anti-Catholic position, and the Order of United Americans. As slavery became a more pressing issue, however, Know-Nothingism lost most of its influence.

The First Alien Wave Summary

The chapter begins with an introduction of the attitudes towards Irish Catholic people throughout history. Although technically white these people are often compared to Negro people in terms of the treatment they receive from their society. Throughout history there has also been an ongoing conflict between Protestantism and Catholicism.

The early part of the chapter discusses the what situation was for Irish people in Europe and what caused so many of them to immigrate to the US during the mid 1840’s. “The history of the poor is the history of Ireland” (pg 134). This is a general trend for the Irish people. In Europe they faced oppression from British rule and were viewed as inferior. What made this worse was the political and economic unrest that Europe was facing during this time period. Ireland was hit especially hard. Most of them were peasants and relied heavily on agriculture. When faced with failed harvests they had no choice but to move. This is what caused that huge influx of immigration to the US. In addition to Irish immigrants there were a great deal of Germans who came.

By the Mid 1850’s there were huge concentrations of Celts in the US, especially in the cities (specifically NY). Once arriving in America the Irish immigrants faced further struggle. Since they were poor peasants their place in American society was limited. They concentrated in slums and were viewed negatively by natives. This is when stereotyping emerges. Cartoon played a big role in the emergence of the Paddy stereotype. Irish people were often depicted as ape like figures. The author includes some images of cartoons from the time. Many of these cartoons featured Negros and Irish people as similar figures.

Nativism became relevant in the politics of this time. American felt threatened by this influx of people from Europe. This effected the political environment of the country as well. The development of the Know Nothing Party is a prime example of the nativist sentiment of the time. There was generally a lot of political tension regarding immigration and the Irish became the focus of discrimination. Coupled with the religious tensions this was an especially hard time for that group of people.

 

Summary of Painter’s “The First Alien Wave”

Today we think of race as being determined solely by the color of a person’s skin. However, in the early 19th century when the Irish were immigrating to America by the thousands, races were divided by not only skin color, but also by things like nationality and religion. The Irish were categorized as Celts, and were deemed aesthetically and personally inferior to Anglo-Saxons.

A lot of the anti-Catholic views upheld in America could be credited to the anti-Catholic legislation in British colonies. After seeing Ireland for themselves, Gustave de Beaumont equated Celts with negroes for being the lowest life forms, and Thomas Carlyle equated Celts with animals, and assumed that they were inherently lazy and stupid.

In the mid 1830s, “Samuel F.B. Morse, the father of the American Telegraph” (Painter, 135) and Yale alumnus and prime minister Lyman Beecher were two popular figures in America whose anti-Celt views helped influence others to feel the same. Morse wrote texts about why Celts were lesser than Anglo-Saxons, and Beecher preached strongly anti-Catholic sermons, which led a mob to burn down the Ursuline convent school in Charlestown.

In 1836, Awful Disclosures of Maria Monk: The Hidden Secrets of a Nun’s Life in a Convent Exposed became very popular and well know, and sold “some 300,000 copies by 1860” (Painter, 136). The book told Maria Monk’s story of what it was like to be a nun in the Catholic church, and how nuns’ obedience to the priests often involved rape of the nuns and murdering offspring. Even after investigation of the validity of the story “quickly disproved Monk’s allegations” (Painter, 137), it led many publications to be written about how bad and immorally sexual Catholicism was. This of course caused more people to have anti-Catholic views.

A variety of crises occurring in Western Europe in the mid-1840s, including political unrest and agricultural failure, led many mainland Europeans to immigrate to America. This great increase in America’s immigrant population led to the creation of the first U.S. census in 1850, which showed that nearly half of the immigrants were from Ireland. Despite the diversity of the German immigrant population “in terms of wealth, politics, and religion” (Painter, 138), they were better received than the Irish due to their tendency to become wealthy. Ralph Waldo Emerson, a leading intellectual in America, furthered this clear distaste of the Irish in his writing by reinforcing the Paddy stereotype.

Cartoons also “played an important role in reinforcing the Paddy stereotype” (Painter, 141). Thomas Nast, editorial cartoonist for Harper’s Weekly pictured a balance beam with a negro on one side and a Celt on the other to represent their equal inferiority to Anglo-Saxons. Even those who were on the pro-abolition side of slavery could draw parallels between the Negro and Celt. After a “visit to Ireland in the famine year of 1845” (Painter, 143), Frederick Douglass did just that. However, Irish people in the United Stated were totally against this assumption, for they understood that although they were Irish, it was better to be white in America than to be black. This anti-black ideology led many Irish to vote in favor of the pro-slavery Democratic Party.

During the mid 19th century when Irish nationalism flourished, two non-Irish writers named Ernest Renan and Matthew Arnold “laid a basis for the study of Celtic literature” (Painter, 144). Despite their rather condescending and patronizing words, they shed light on the idea that though the Celts may have been a pathetic race, it was not the fault of an inherently inferior mind, but rather that of unfortunate circumstances and situations in their country. Nevertheless, the Celts took a liking to these writers at the time.

The Order of United Americans was an extremely violent anti-Catholic terror group that first appeared in New York, and by the mid-1850s had “flourished in sixteen states” (Painter,147), including Massachusetts, New Jersey, Pennsylvania, and Connecticut. Then, the Supreme Order of the Star-Spangled Banner, a nativist American and anti-Catholic group, was founded in New York. These groups and others like them were known as “Know-Nothings” because they “responded to queries about their orders with “I know nothing”” (Painter, 147). Mobs were incited by these groups upon a visiting papal envoy in 1853, and “a mob in Ellsworth, Maine tarred and feathered a Catholic priest before nearly burning him to death” (Painter, 148) in 1854.

The influx of anti-Catholic views led many of the members of these Know-Nothing groups to be elected into office during the fall elections of 1854. When in office, they passed bills that prohibited “people not born in the United States from holding political office and … extend[ed] the naturalization period to twenty-one years” (Painter, 149), which in turn made it more difficult for immigrants to vote and be involved in politics.

Know-Nothings did well in elections and were a powerful group until “1855 [when] the question of slavery in the Nebraska Territory” (Painter, 150) separated the pro-slavery south from the pro-abolition north. Most Know-Nothings from the north joined the newly-founded Republican Party, and those from the south rejoined the Democratic Party. While the worst of the violence against poor Irish-Catholics was over, they were still viewed as Celts. They as well as Africans remained inferior to Anglo-Saxons, who “monopolized the identity of the American” (Painter,150).

A Summary of The History of White People, Chapter Nine: “The First Alien Wave”

Lucia Lopez

In today’s world, the concept of racism is normally directly paired with the topic of skin color. What most people fail to recognize, however, is that American hatred towards other white people has also been a horrible problem in the nation’s history. Not all white people were privileged in American society, and this is seen when looking at the experiences of Irish Catholics in the Unites States in the 19th century.

Before 1820, Irish immigrants had easily fit into American society due to their Protestant religion. They had begun to call themselves “Scotch Irish” in order to distinguish themselves from the Catholic-Irish population. Catholics had been discriminated against for years in the British colonies as well as in the United States. Up until 1821, Catholics were denied citizenship in New York unless they declared faithlessness to the Pope. In Massachusetts, all people were expected to pay taxes to fund Protestant churches until 1833.

During the Irish potato famine in the 1830s and 1840s, intellectuals began to discuss the roots of the problems the  Irish were facing. Although many, like essayist Thomas Carlyle, believed the Irish to be a genetically inferior race, some such as Gustave de Beaumont believed that the essence of their suffering was British policy. Since the seventeenth century, Catholics had been deprived of land ownership by Protestant English settlers. Still, most at the time believed that the Irish, like African Americans, lacked the desire to add any value to society.

Also immigrating to the United States were Germans. German Americans had more easily blended in due to their wealth and Protestantism. Meanwhile, things were getting much worse for the Irish; they had received the reputation as drunk, violent, lazy people- this archetype became known as “the Paddy”. This figure was enforced by cartoons, depicting the Irish as ape-like and contrasting their facial features to those of Anglo-Saxons.  

Although color did not play a main role in race relations as the Irish were first discriminated against, it became of importance when the Irish began to be compared to the black population of America. Although both groups were seen as inferior, poor, and lazy, the Irish used their skin color to draw a distinction between themselves and African Americans and put themselves above them. They even went as far as supporting the proslavery Democratic Party. the draft riots followed, in which the Irish clearly rejected the concept of black-Irish commonality.

Soon a group arose in the political sphere that claimed they knew nothing when it came to choosing a party to associate with, dubbing themselves the “Know-Nothings”. Their distaste targeted alcohol and Catholicism mainly, and while they made efforts to enforce laws according to their views they usually did not succeed. Soon, as issues such as slavery became more pressing, members of the party began to take sides and the party slowly disappeared after losing so much of their following. Despite their disappearance, hatred towards the Catholic Irish continued for years. Nativism continued and Celts and Africans were still seen as subordinate members of society; the Irish, however, held on to their whiteness for value.

The Spirit of the New Yorker: Reitano Ch 4 Summary

During the mid 19th century, New York City went through formative changes in population demographics, economic turmoil, and struggles for power against the state. Rival parties formed on the basis of race, religion, class and allegiance challenged the systems in place and made progress as not only a city, but as a country.  

A major factor that furthered the progress of New York City was the activist spirit that emerged as a result of the gap between the rich and the poor. Nearing the end of the industrial revolution, some New Yorkers were able to make a hefty living from rising industries. While the wealthy lived on Broadway and Fifth Avenue, the poor were displaced to the Five Points slum area and exposed to high rates on crime and gang violence. The tension between the two classes was demonstrated in the Astor Place Riots. Two rival actors, William Macready and Edwin Forrest, were both due to perform Hamlet one the same night as different venues. While Macready resonated with the upper class, Forest was the common man’s actor. On opening night, Forrest supporters came to Macready’s show to throw rotten eggs and potatoes at him. Fueled by their last riot, Forrest supporters bought tickets to crash Macready’s second performance, but state militia fired at the rabble rousers costing several American lives. In response to the militia shooting, Forrest supporters held a protest rally on May 11th at City Hall Park.  The Astor Place Riots set the scene for future activists.

The draft riots of the Civil War were another chief example of the social pressures between the wealthy and the poor in New York. When the republican party called for a draft across the board, the lower class were enraged to find out that the wealthy were excused from the draft after paying a replacement fee. Mob riots ensued in republican areas; african americans were lynched; wealthy people were attacked on the streets; expensive stores were robbed. In response to the riots, President Lincoln ordered a draft quota for NYS. Some whites formed unions and organizations to support the republican party and abolitionists. Despite the initial responses to the national draft, the two parties did make amends and spurred an era of growth in New York City and the United States as a whole.

Another major factor that moved the progress of New York City was the cultural conflict that resulted from the immigration of 1.6 million Irish catholics to the United States during the Irish famine. Americans took on a strong sense of nativism and outcasted the immigrants. On 4th of July 1853, when a riot surfaced in the midst of two patriotic parades, one protestant and the other catholic, police only arrested catholics. Similarly, protestant mobs prevented catholic children from attended the mission school set up by Reverend Louis and protestant street preaching became frequent in catholics neighborhoods.  Despite, nativist attitudes and persistent attempts at conversion, the Irish catholics did not assimilate; instead they redefined the culture of NYC and by extension, the United States.

Another large conflict in NYC was the power struggle between the city and New York State. Fernando Wood, Mayor of New York, was known for employing Irish workers and improving the education, sanitation, and transportation systems. Although his self satisfying motives made him out to be quite a controversial politician, Wood formed a resistance of Irish locals as the State began to take away municipal authorities. State-appointed commissioners were put in place to oversee the development of Central Park. The revision of the City Charter removed the mayor from the Board of Supervisors so Wood forcefully relinquished control over city finances. The state increased the liquor license fee, attacking the culture of the already impoverished Irish and German immigrants. Lastly, the state implemented the Metropolitan Police Act which disbanded the city militia, leaving New York City to be defended by the metropolitan police force. Wood gave his policemen the option to join the state force or stay on his municipal force in spite of the police act. While the Irish immigrants remained loyal to him, the native born Americans joined the state, creating major conflict between the two groups. In response, the Irish formed the Dead Rabbits and fought the state police and their gang, the Bowery Boys. In the end, only the Dead Rabbits were blamed for the riot. Social conflicts like these have been prominent in New York City’s history, and each time, New Yorkers rise to challenge norms and fight for what they believe in. Confronting conflict headfirst has become custom as well as responsibility in order to form a more perfect union.

The First Alien Wave: An Informative Summary

In “The First Alien Wave,” Nell Irvin Painter discusses the struggles of Irish Immigrants following the Great Famine of 1845. This mass immigration sparked waves of nativism and negative stereotypes towards the Irish, capitalizing on their Catholic religion and poverty. Another significant immigrant group, the Germans, were subjected to less hatred by the American people in part because of their less controversial Protestant religion and well-known wealthy individuals like Johann Jakob Astor. The Germans were able to settle into American life while Irish stereotypes and discrimination persisted.

The Irish were an easy target for discrimination because of deeply ingrained anti-Catholicism in America. Irish Protestant immigrants from the 1820s were able to easily settle in America, but Irish Catholics that immigrated post-1830s were met with anti-Catholic sentiment. By the mid-1830s, many anti-Catholic journals and organizations existed in New York and New England. Ministers like Lyman Beecher began preaching violent anti-Catholic sermons, setting off a series of church burnings throughout New England and the Midwest. The expose Awful Disclosures of Maria Monk also made the Catholic church look even worse. Monk’s tales of rape and murder of newborns within the church made the religion look “inherently sexually immoral” (137). While Monk’s allegations were later proved false, it still took a massive hit on the Catholic church and the many Irish that belonged to it.

The “Paddy” stereotype was another damaging view of Irish Americans. Ralph Waldo Emerson referred to the poor Irish as “Paddies,” using stereotypes taken from Richard Steele’s description of the “Poor Paddy” (139).  Most Irish worked low paying jobs and became known for their fondness of alcohol, painting them as drunk and lazy to the rest of society. Phrases like “paddy doyle” and “paddywagon” perpetuated this negative stereotype, and linked the Irish to crime and poverty. Cartoons also played a big role in spreading this stereotype, depicting the Irish as ape-like and animalistic, a view strengthened by the writings of respected essayists like Thomas Carlyle, who called Ireland a “human dog kennel” (134). Cartoons of the Irish frequently paralleled them with African Americans who were also seen as inferior.

The rest of American society looked down upon Irish Americans, and often compared them to other minorities that faced discrimination. Upon seeing the Ireland famine firsthand, Frederick Douglass compared the conditions of the poor Irish to those of enslaved African Americans. However, instead of embracing common struggles with the African Americans, Irish Americans made attempts to distance themselves from these parallels, like supporting pro-slavery actions and participating in violent acts towards African Americans during the 1863 Draft Riots.

America during the 1840s saw a rise in nativism, and the prime targets were the Irish and any other group that was not white Protestant. The Know-Nothing Party hated Catholics and participated in the various church burnings and mob violence against Catholics. Over time, the Know-Nothing Party split between the Republicans and Democrats over the issue of slavery, and eventually fizzled out.

But even with the end of this political party, nativism was still strong, and the Irish were still seen as inferior along with the enslaved African Americans. Despite their poverty and stereotypes, the Irish still had their “whiteness,” as Painter describes in the concluding sentence. The Irish and African Americans were seen as separate from the rest of American society, but their skin color still played a role in the way they were treated and perceived by others.